Anyone who has experienced sea-sickness or who has been drunk knows that impairment of one’s sense of balance and equilibrium is extremely unpleasant. In contrast, anything which increases our feeling of being securely balanced and in control of our movements enhances our sense of well-being. Marching soldiers swing their arms symmetrically as they march; and also march better to music. Music can order our muscular system. I believe that it is also able to order our mental contents. A perceptual system originally designed to inform us of spatial relationships by means of imposing symmetry can be incorporated and transformed into a means of structuring our inner world. For example, writers who ‘hear’ their sentences as if read aloud tend to write better prose than those who merely see them. A writer considering how best to express a particular point may finally exclaim ‘I see how to put it.’ It is often equally appropriate to say ‘I hear how to put it.’
The Greeks of Plato’s day considered that the right type of music was a powerful instrument of education which could alter the characters of those who studied it, inclining them toward inner order and harmony. Equally, the wrong type of music could have seriously bad effects. Both Plato and Aristotle shared this view of music, although they did not always agree as to which type of music was beneficial and which harmful. Plato, in The Republic, reports Socrates as saying:
And therefore, I said, Glaucon, musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful; and also because he who has received this true education of the inner being will most shrewdly perceive omissions or faults in art and nature, and with a true taste, while he praises and rejoices over and receives into his soul the good, and becomes noble and good, he will justly blame and hate the bad, now in the days of his youth, even before he is able to know the reason why; and when reason comes he will recognise and salute the friend with whom his education has made him long familiar.28
Plato, who was not averse to strict censorship, wanted to banish from the ideal State styles of music which were sorrowful, plaintive or associated with indolence and drinking. There were only two styles which should be tolerated: one for use in battle or in times of misfortune, when a man’s resolve might need boosting; the other to be used in times of peace, when he is either seeking to persuade God or man in moderate fashion, or else himself is yielding to persuasion in an equally balanced way. Such music might be used to represent his prudence and moderation.
These two harmonies I ask you to leave; the strain of necessity and the strain of freedom, the strain of the unfortunate and the strain of the fortunate, the strain of courage, and the strain of temperance; these, I say, leave.29
As Glaucon points out, this leaves only the Phrygian and Dorian modes from amongst those in common use. The term ‘mode’ as employed by the Greeks is difficult to define exactly in modern terms, for it referred both to the scale and also to the type of melody; but the general sense is clear enough.
Aristotle believed that,
men are inclined to be mournful and solemn when they listen to that which is called Mixo-Lydian; but they are in a more relaxed frame of mind when they listen to others, for example the looser modes. A particularly equable feeling, midway between these, is produced, I think, only by the Dorian mode, while the Phrygian puts men into a frenzy of excitement.30
Indeed, Aristotle thought Socrates wrong to permit the Phrygian mode to be added to the Dorian, because he believed it to be too orgiastic and emotional. For educational purposes, he recommended the Lydian mode because of its power to combine orderliness with educative influence.
The Phrygian mode, according to the great classical scholar E. R. Dodds, was used both in the Dionysiac rituals of the Archaic Age and later in the Corybantic rituals of the fifth century BC. Both seemed to have been based upon the notion of ‘catharsis’: that is, upon the idea that individuals could be purged of irrational impulses or cured of madness if they temporarily lost all inhibitions and ‘let go’ in an ecstatic fashion.31
Plato was conservative as well as severe. Socrates says that it was necessary that
music and gymnastic be preserved in their original form, and no innovation made… for any musical innovation is full of danger to the whole State, and ought to be prohibited. So Damon tells me, and I can quite believe him – he says that when modes of music change, the fundamental laws of the State always change with them.32
We may not share the Greek view that particular modes have different effects upon listeners. But we recognize that some composers habitually select certain keys when they want to express particular emotions. It is generally agreed that Mozart used G minor to express tragedy or melancholy; for example, the Piano Quartet K. 478, the String Quintet K. 516, the Symphonies K. 183 and K. 550. Perhaps the Greek idea of linking certain modes with particular emotions is not so far from our own perceptions as at first appears.
Plato anticipated, or perhaps invented, the notion of mens sana in corpore sano which became the supposed aim of English public school education. What was needed was a proper balance between the physical and mental. He believed that those who simply pursued athletics became violent and uncivilized, whilst those who only exposed themselves to music became soft and feeble. Plato suggested that there are two principles of human nature, the spirited and the philosophical, which are served by gymnastics and music respectively.
And he who mingles music with gymnastic in the fairest proportions, and best attempers them to the soul, may be rightly called the true musician and harmonist in a far higher sense than the tuner of the strings.33
Centuries later, the historian Edward Gibbon makes use of a similar dichotomy. Indeed, he may have learned it from Plato.
There are two very natural propensities which we may distinguish in the most virtuous and liberal dispositions, the love of pleasure and the love of action… To the love of pleasure we may therefore ascribe most of the agreeable, to the love of action we may attribute most of the useful and respectable qualifications. The character in which both the one and the other should be united and harmonized would seem to constitute the most perfect idea of human nature.34
Plato wrote in the Timaeus:
All audible musical sound is given us for the sake of harmony, which has motions akin to the orbits in our soul, and which, as anyone who makes intelligent use of the arts knows, is not to be used, as is commonly thought, to give irrational pleasure, but as a heaven-sent ally in reducing to order and harmony any disharmony in the revolutions within us. Rhythm, again, was given us from the same heavenly source to help us in the same way; for most of us lack measure and grace.35
Theon of Smyrna, a Platonist who flourished between AD 115 and 140, left a treatise concerning arithmetic, astronomy, and the theory of musical harmony which he called ‘Mathematics useful for reading Plato’.
The Pythagoreans, whom Plato follows in many respects, call music the harmonization of opposites, the unification of disparate things, and the reconciliation of warring elements… Music, as they say, is the basis of agreement among things in nature and of the best government in the universe. As a rule it assumes the guise of harmony in the universe, of lawful government in a state, and of a sensible way of life in the home. It brings together and unites.36
It goes without saying that Plato and Aristotle were two of the most intelligent men who have ever lived. Their view of the physical universe has been superseded by modern scientific discoveries, as has that of Newton. But music and art are in a different category. Unlike science, art is not superseded, and nor are views about